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That's my thinking. The pair would hit the ground running.
What you derogatorily refer to as "piss filter" is just part of Hoyte van Hoytema's usual aesthetic. You can see it in his other films like INTERSTELLAR which came a year earlier. He always employed a more otherworldly look to his films. Admittedly it's unusual for Bond films, as they typically in the past went with real world colors, so it's no surprise the more conservative Bond fans don't like seeing that kind of experimentation done (like those who hate the "the dead are alive" title after the gun barrel, instead of the usual iris opening up).
If I have one reservation, I do wish the gun barrel didn't use that color pallet. Otherwise, the film looks perfectly fine to me.
Derogatory would be calling him a hack - it's some people's favourite word around here.
It worked well at times (Rome, the London stuff) and took away from the visuals at other times (pretty much the entire Austria sequence).
Of his work, I like TINKER TAILOR SOLDIER SPY the best.
+1.
That film is a stunning piece of work - not even because of the colours but because VH shot a lot of it on long lenses and it worked so damn well.
...I'll show myself out
The filter that always bugged me the most was lime filter on The Matrix. The DVD looked like puke in all the 'hooked-in' scenes. Thankfully, the Blu Ray makes it all right again, as in my theatrical viewing. Filters always look worse on DVD's.
The weakest movies (for me) like TMWTGG, TND, and TWINE may have more natural colors, but that doesn't take away how utterly dull they looked. DAD looks pretty amazing during the Cuba scenes, but everything else has this "plastic" look that its DP seemed to use in the Star Wars prequels.
https://www.forbes.com/sites/scottmendelson/2018/08/24/james-bond-25-gets-delayed-should-daniel-craig-quit-while-hes-ahead/#59ee49123c97
To me, he (Forster) fits the scramble mode even more if we consider he's got the experience of (a) doing a Bond film and (b) doing another blockbuster outside of Bond. This might be a more important consideration at this point than typically thought, provided Boyle in fact left the production because of the scale of the production, I don't know.
I understand if they want someone with more name cache like Boyle had. The "decorated actor's director" that Forster represented back in '08 has since morphed into more of the pop auteur mentality that's so often comes in handy now as PR. Even if Eon had no problem with bringing Forster back into the fold, I could see where moneyed interests might rather push for an Edgar Wright type.
In apparently jumping from Demange to Boyle, it seemed that's exactly what Eon wanted. Now they might be headed back the other way, and if that's the case, at this late stage, I'd say get Forster over those four. I'm open to any of them, but Wright is the one I'm least excited by.
Yes. I love QOS, but its style should be left to that film in particular. I like Forster because I like what he did down in the roots of the film, and I would look forward to that again.
Yes, this. I have certain things I believe I would like (and I enjoy share or speculating about), but ultimately I'm open to experiencing whatever they want to try. Unless the whatever lost them my trust. But no matter how much I might dislike certain decisions they have made, nothing has been so offensive to me as that, yet.
Well said. Fleming wrote his novels in two weeks.
I'd love to see a Bond film return to the vivid colors of Ted Moore. The Connery films as seen on the big screen look amazing.
Ha ha.
On the contrary, the original 1999 DVD does look closer to the theatrical viewing. The hooked in scenes have that sickly artificial filter because the scenes are supposed to LOOK artificial. Changing the color timing was actually done in 2004 for the box set so that the original film would look more similar to its sequels, which strikes wrong for me. It also screams too much of that George Lucas kind of tinkering, who changed the color timing of the original STAR WARS trilogy to match with the more highly saturated prequels. This is why I never bought THE MATRIX or the STAR WARS trilogy on blu-ray. Give me the original theatrical look any day.
http://www.dvdactive.com/editorial/articles/the-matrix-visual-comparison.html
That film is a masterpiece and doesn't deserve to be mentioned in the same sentence as SPECTRE.
Indeed. Really quite astonishing considering how dense the novel is. Anyway, I'd be delighted if Hoyte shot another Bond. I've always wanted Robert Richardson to lense a Bond film, too. That guy's a living legend.
And after B25 we will have a Craxit.
You mention "otherworldly". That's part of the issue I have with this filter. It looks completely unnatural (just look at the PTS), and doesn't add anything that justify why it should be used. It's unpleasant to look at, IMO.
Not to mention it washed away all the beautiful and vibrant colours in the day of the dead sequence. And made the snow in Austria look like a banana granizado.
Don't get me wrong. I loved VH's work in TTSS and Interstellar. I even met the man once, and he is very nice and knowledgeable. I just didn't appreciate his colouring on SP. But just that aspect of the cinematography, which is obviously more complex than just that.
Mendes wanted a ghostly aesthetic (hence Spectre), which in that context does actually work. I was particularly peeved it was at the expense of the vibrancy of Mexico, but I understand it. The desired effect does translate, but I can completely understand why people dislike it.
I can see the justification simply being setting the mood, especially with that title card that succeeded the gun barrel. I'm not sure just going with natural colors would fit in with the vibe the film is going for. Of course, anyone that doesn't go with the vibe won't appreciate the style it's going for. Hence crass remarks like "piss filter".